The southern frontier is one of the most emotionally charged zones in the United States, second only to its historical predecessor and partner, the western frontier. Though they span many genres, border films share common themes, trace the mood swings of public policy, and shape our cultural agenda.
In this examination, Camilla Fojas studies how major Hollywood films exploit the border between Mexico and the United States to tell a story about U.S. dominance in the American hemisphere. She charts the shift from the mythos of the open western frontier to that of the embattled southern frontier by offering in-depth analyses of particular border films, from post-World War II Westerns to drug-trafficking films to contemporary Latino/a cinema, within their historical and political contexts.
Fojas argues that Hollywood border films do important social work by offering a cinematic space through which viewers can manage traumatic and undesirable histories and ultimately reaffirm core "American" values. At the same time, these border narratives delineate opposing values and ideas.
Latino border films offer a critical vantage onto these topics; they challenge the presumptions of U.S. nationalism and subsequent cultural attitudes about immigrants and immigration, and often critically reconstruct their Hollywood kin.
By analyzing films such as Duel in the Sun, The Wild Bunch, El Norte, The Border, Traffic, and Brokeback Mountain, Fojas demands that we reexamine the powerful mythology of the Hollywood borderlands. This detailed scrutiny recognizes that these films are part of a national narrative comprised of many texts and symbols that create the myth of the United States as capital of the Americas.
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Author: Camilla Fojas. This page intentionally left blank. University of Texas Press Austin.
Camilla Fojas is an associate professor of media studies and affiliated faculty in American studies at the University of Virginia.
Journal of American Studies. Pp. 253. isbn978 0 292 71862 3. RON WILSON (a1).
She spoke to emerging filmmakers from all over Ibero-America about film festival funds and crowdfunding strategies within a Latin American context. KU Film and Media Studies. 18 November at 12:00 ·. Hey Students!
Ethnic and Racial Studies. Fojas has done it again.
Ethnic and Racial Studies. Extraordinary! Exquisite! Edifying!"-Frederick Luis Aldama, author of The Cinema of Robert Rodriguez.
Film studies as an academic discipline is a new concept in the twentieth century. Early film schools focused on the production and subjective critique of film rather than on the critical approaches, history and theory used to study academically
Film studies as an academic discipline is a new concept in the twentieth century. The critic of film in an academic setting has not existed through the entire history of film. Not to be confused with the technical aspects of film creation, film studies exists only with the creation of film theory-which approaches film critically as an art-and the writing of film historiography. Early film schools focused on the production and subjective critique of film rather than on the critical approaches, history and theory used to study academically. Since the time film was created, the concept of film studies as a whole grew to analyze the formal aspects of film as they were created.
Film studies is an academic discipline that deals with various theoretical, historical, and critical approaches to films. It is sometimes subsumed within media studies and is often compared to television studies. Film studies is less concerned with advancing proficiency in film production than it is with exploring the narrative, artistic, cultural, economic, and political implications of the cinema.